Thursday, February 2, 2012

A Dozen Snazzy Dresses and a Car

Holy God! Sweet Jumping Christmas! Perhaps it's my unfortunate ignorance of early Soviet filmmaking and my total lack of knowledge of Eisenstein and that school, but this movie moves in a way like nothing I've ever seen before. Purely based on its dynamism I wish to fill it with stars! The difference between photography and motion pictures is the motion. Though that seems self-evident, it takes a movie like this to really make the implications of that clear. Why does no one seem to use a camera like this anymore? I don't mean copying this style, but the mobility of the camera is just on another level here and I'm wondering why so few movies of recent times (at least that I've seen) ever achieve that kind of mobility and dynamism - or anything close to it… it's just in a different league. Even when the camera is still, the placement is so brilliant you'd never expect it and yet it gives such interesting views on the subjects. If this is cinematography, I wonder what all those other movies I've been watching have their DPs doing.